![]() “When the song was done and the mix was almost finalized, I turned to everybody in the room and said, ‘I think this song is going to be massive.’ They released it as a single, and it wasn’t so massive – but then it ended up being massive. Steve turned to me and said, ‘What? You’re going to play the melody that I’m going to sing?’ I go, ‘Why not? It’s a good one.’ Actually, I had a short guitar solo before the chorus so the obvious thing for me to do was to play the melody of Don’t Stop Believin’ – the melody people are going to hear right after I play it. “In this case, the chorus didn’t happen until the end of the song. It just took a long time for everybody to catch up! They released it as a single, and it wasn’t so massive – but then it ended up being massive. “For the first time, you’re hearing a chorus on the outro, which was completely against all rules of nature in that time period – and now – if you’re going to try to get a song on the radio. Don’t know where I’ll be tomorrow.’ĬBS at that time came to us and said, ‘You need a front man, otherwise we’re going to drop you.’ So I started writing with Robert Fleischman – and that was the first song we wrote together.” Don’t Stop Believin’ – Escape (1981) she had handed me some poetry she had written I remembered a line that said, ‘Wheels are turning on my mind.’ I don’t know where it came from, but I was banging out D minor chords in the chorus and I said, ‘ Wheel in the sky keeps on turning. I came up with all the verse and B sections, then the chorus came out within minutes.Īt that point, our then-bass player, Ross Valory, and his then-wife, Diane. I pulled out an acoustic and sat on the hood of the car and started banging out the chords. Our old manager, Herbie Herbert, who is resting in heaven, was yelling at him over the phone, ‘Pat, you’ve got to do this, you’ve got to do that.’ Pat said, ‘I’ve got to pull over. “Our road manager happened to be driving that day, Pat Morrow, and he was just fatigued. ![]() Everybody had to take a break and pull over to the roadside to take a leak. “There were long road trips with Aynsley Dunbar at the steering wheel with his fuzz buster. We hadn’t changed our lineup at that point, and we were all traveling in two station wagons – all crammed in. “We had completed our first three records. I felt like this is definitely for some of our younger fans who never got to see the late-Sixties, early Seventies vibe of everything that was coming out of England – a Hendrix, Zeppelin kind of a mixture of Jimmy Page, Prince and all the influences I grew up with.” Wheel in the Sky – Infinity (1978) “We have about five generations of fans coming to our shows now, which is pretty amazing. So I brought one into the studio and I started jamming with Narada – and it ended up being the song that it is now, without changing anything. “It brought me to that time and space where I was remembering that slow, sexy groove that was in my head and always had it on kind of a Whammy pedal. This is definitely for some of our younger fans who never got to see the late-Sixties, early Seventies vibe We have about five generations of fans coming to our shows now. It reminded me of a lot of the early stuff before I started Journey – things I was working on with Greg Orrico and Larry Graham. I always loved the Chaka Khan song, and I love that Hendrix-y type, Prince funk vibe. “This was a cool idea that was bouncing around in my head for years.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |